5. Color values: The scene is set in a lounge of some sort. Color is not really used for symbolism here. All four characters are Black Americans. The two males closest to the camera are not illuminated enough to see the color of their outfits. Washington is dressed in dull colours (black, brown, grey). The set is also very dull. The female character has red hair, and red and purple clothing, which, is the the only colour contrast. Perhaps this is just to symbolize her difference from the rest of the characters. However, she is not being focussed on by the dominant character (Washington)

Therefore, this ultimately leads to intergalactic class warfare between the terrorising, bourgeoisie Company figure of the alien and the working-class labour workers. Thus, what makes Alien an interesting analytic example is the film's diverse range of symbolic psychoanalytic imagery, which is often associated with horrific connotations concerning the alien as castrating Other. This profound use of psychoanalysis is located within the Marxist zone centred on the economic horror of the alien and the social horror of intergalactic class warfare. Interestingly, the way that these two critical approaches of psychoanalysis and Marxism are applied to the film may suggest that these are two separate tools of analysis, without any theoretical relationship.

The long take is an alternative to a series of shots, and is a strong creative resource. A long take, in this case, evokes emotions in the viewer without forcing it. In a series of short takes, the viewer is mentally jumping from an illusion to the next, without receiving a chance to explore the scene. (Wyss 2008) In Code Unknown, the viewer is encouraged to supply their own conclusions about what is unfolding in front of them. The film consists of static sequences from a single perspective to avoid patronizing or manipulating the viewer. (Haneke 2004)

and presented in a style which appealed, thrilled and, as Stephen Bottomore suggests, sometimes shocked the audience of the time. (Bottomore 1999, p. 177) Eliciting these reactions in audiences was common to the established forms of entertainment in that era, which helped familiarise and popularise cinema as a new media. (Halle & Margaret 2003, p. 17) Cinema of attractions is a term Tom Gunning coined to describe all cinema prior to 1908 (or so), when the style of cinema was focused on engaging the audience with a variety of visually-arresting appeals and spectacles, spanning an assortment of styles and genres.

A scene demonstrating this parallel quite vividly is the (also) parallel sequence where Billy in a lesson works hard to improve his dancing on the one hand and the police defeat the striking workers in their own neighborhood on the other. Taking a look at Billy�s part in the film, I would even say that Billy does not only achieve a cultural education for himself, but he is the one who who makes culture and new working class values accessible to his family.

It is purely descriptive; a conclusion of perception. The electromagnetic radiation to which our retina is sensitive, the variations in molecular density detectable by our inner ear, the molecules which cause chemical reactions in our nervous system: These experiences we term; sight and hearing, touch and taste. This information, this knowledge, is collected and compounded according to how it affects us, and it is concluded as our physical surroundings, and termed our reality. Reality is where we exist, reality is what we see and hear, reality is the conclusions determinable by our sensual experience.

After these images there is a straight cut to a man walking through a field of barley. We merely see the man's head and his arm. His arm is dressed with a cuff and a ring, which seem to suggest that he is a Roman soldier of some sort. The use of colour is very important here as lots of rich , sunny yellows are used, although there is still a tinge of sepia colour. Sepia colour is used in a clever way as generally it tends to suggest things that have happened in the past (as old photographs used to be taken in sepia)

The dream inspires thought that anything can happen to anybody and it can all be good. While many Americans have achieved their own dream, most will be disappointed and disillusioned. Some say the American Dream has become the pursuit of material prosperity, people work long hours for bigger houses, fancier cars, designer labels, but have less time to enjoy their prosperity. Others claim that the American Dream is beyond the grasp of some people, particularly the working poor, who must work two jobs to ensure their family's survival.

Rocket's narration in voice-over has an explanatory tone, always introducing new characters or didactically explaining the dynamics of the drug trade in the slum. He does not ultimately get involved with crime. Along the way, the film constantly shifts narrative genres, with most of the 'normal'. Non-violent, moments associated with Rocket: there is a charmingly comic moment in which his friends dropped their plan to rob a bus, because the fare collector was so cool and kind that they can't bear to cause trouble for him.

As we know, red is a very powerful colour with several meanings, one could be to emphasis that he is key role in the love interest in the film. It could be there to symbolise passion and love. I feel however that he is portrayed in this way not because of passion or love but blood and death. The use of the colour red here is to highlight his role as a leader and fighter. It is there to symbolise blood as he will always have blood all over him throughout the film.

Either way, bullying is always a big part of school life. In the film, the presence of bullying shows the audience how hard it is to watch or to be around it. It shows parents should be more aware of teenagers and keep more in touch with them. The sound track to the film is an urban tune with only British artists rapping in the film such as Dizzy Rascal, and The Streets. As a British film, with London-born actors, the director and the cast thought it was important to make the music British too, as it's a big part of teenage life.

Violence is prevalent in "reservoir Dogs", notably when Mr. Blonde tortures the captured police officer and cuts off his ear. This intense violence portrays many things about the film and about what Tarantino is trying to suggest. He manifests these gangster characters with such disregard to living, going to jail, and swearing simply to show the audience how he believes criminals act. Quentin therefore tries to present a criminal lifestyle as it most likely is, not worth it. He suggests that a life of crime and violence leads to dead ends such as jail, death, or predicaments such as having an informant on a well-planned out diamond heist!

The last dissolve ends the tranquillity and heightens the difference of the next shot as the audience then find themselves looking at the city, from a low angle, facing a line of fast moving, noisy traffic. This representation of the city is a realistic one, they are busy places, they do contain more modern transport. However the clever juxtaposition of the shot creates an association of discomfort with the city, placing the quiet life in the audiences favour. The sea based montage is important as it introduces the issue of the protagonists escape, but it is in the city that we first meet our lead male.

A many-sided narrative In terms of English fiction, Wilkie Collins is something of an innovator of narrative form. Although there are a number of Eighteen-Century novels in which the epistolary form is used (Richardson's Pamela), Collins extends and refines this style, so that many voices speak to the reader. Indeed, apart from the central figures, there are many transient characters who help to give evidence which completes this story. Significantly, it is the good characters who have the most to say, that is those with a central moral orientation, who direct and condition the reader's responses to events and revelations.

We often associate red with blood and also death, though on its own would not signify a horror film so we see a hut in the wilderness. Though most people would be able to tell this is a horror film at the top of the poster it says "Terror...In the flesh." Each genre will appeal to different people as everyone has their own tastes, so it is important for the producers of the film to use the codes and conventions associated with the film so that what is advertised applies to the genre it suggests.

The main fear of the ruling governments were rebellion and uprisings against many factions and from this came the fear of what was in store in the future as is are revealed in Metropolis. As I have already indicated Metropolis was the first science fiction film so in turn it set the benchmarks for the generic conventions and iconography, which we see amongst us in present day cinematography. The portrayal of these generic standards is shown through magnificent and smallest of detail in the misc en scene such as the close up of Rotwang the mad scientist to the effects used to demonstrate the transformation of Maria to the Robot.

The two films begin on a similar scene at different times of the day. "The Great Escape" began with a strong military, now very well known, tune which carried the camera across a panning shot of the prisoner of war camp when the prisoners were being brought into it. This gives the impression of travelling, which is what the main characters were doing at the time. This view is punctuated by some very bold and red credits. The credits begin with "Steve McQueen" which shows one of the main selling points for the film was its all star cast.

This shows us that the graveyard is for American soldiers and is in France. We continue to see many long shots of gravestones and this brings out many emotions in the viewer about how we feel for the soldiers who died here. Eventually after several shots between him and the graveyard, he comes to a specific grave it is quite important that we do not see the name. When he arrives there he falls to the floor and holds his face. We have a very close up shot of this so that we can catch all the emotion in his face. This entire scene has been quite quiet and tranquil with very vibrant colours.

Dietrichson died by falling off the train. Neff's boss, Barton Keyes, suspects that something is wrong. Neff visits the Dietrichson household, and both himself and Phyliss are planning to shoot one another. Phyliss manages to shoot him first, but only in the leg. He shoots her twice and she is dead. We then go back to Neff recording this story into his Dictaphone and see Keyes in the doorway. Neff tries to escape but collapses in a doorway (because of his wound) as Keyes telephones the police. Summary of 'Blade Runner' The film is a Neo-Noir, which is modern version of the traditional film noir.

This gives everything a gritty grim quality in the tradition of classic film noir. Also the use of omniscient view, as if we knew she wasn't getting chased we wouldn't have that suspense and horror genre feel that has been created. It turns out that the woman isn't infact being chased. The young Federal Bureau of Investigation Academy trainee is undergoing a physical challenge of endurance, an obstacle course, alone in the woods.

The mise en scene is everything that is placed in front of the camera. So for example the setting, lighting, positioning of the actor, camera angles, and music are all parts of the mise en scene. All of these I will be analysing individually and I will consequently be aiming to justify the different ways the mise en scene plays an important part in the introduction of the character of Indiana Jones in the opening sequence of the Raiders Of The Lost Ark.

It appears to be the case that such a thing is as much about longing as it is dread. It is an amusing thought to think that we, as an allegedly post-religious age are flocking, as audiences, to see films which are explicitly claiming that there is life after death and so on. The director purposely defies the elements of a regular ghost story whilst sticking to some of the expectations of a regular ghost story. Amenabar explains the uncanny occurrences he creates in a highly ingenious way, refusing to 'give the game away' as such until the very end.

Stranded 205,000 miles from earth in a crippled space ship, astronauts Jim Lovell, Fred Haise and Jack Swigert fight a desperate battle to survive. Mean while, at Mission Control, astronaut Ken Mattingly, and a heroic ground crew race against time and the odds, to bring them home. Either produce the state of the art graphics and special effects but Gladiator comes out best with the detail of scenic views containing Rome with the extravagant Coliseum and other roman buildings. Gladiator also comes out best with the music composed by Hans Zimmer who brings the right music at the right time

Tristan Todorov, a Bulgarian literary theorist, argued that all narratives were based on conflict, and that an Equilibrium - Disruption - Restored Equilibrium structure was invariably present within them. Claude Levi-Strauss argued that narratives unconsciously reflected the myths, values and beliefs of the culture in which they were produced. To illustrate this he constructed sets of binary oppositions that showed where the conflict lay within the narrative. Whilst it is clear that all of these statements are true and can be applied effectively to many films, there are some productions that subvert these frameworks and intentionally seek to deviate from this conventional form of narrative structure.

It is a grand and once luxurious compound that has fallen into decay and abandonment. The audience is aware from the start that the family, the central premise of the whole trilogy, has fallen and broken. Love and togetherness, the strength of the family unit to support and unify the goals of the individual members has been left to ruination and rot. The film's narrative is therefore still about family, but as a broken one with a destructive past. Once the location changes to New York City, the arena of the church illustrates the social position of the family and their power.

Conclusion analysis

Good conclusions usually refer back to the question or title and address it directly - for example by using key words from the title.
How well do you think these conclusions address the title or question? Answering these questions should help you find out.

Do they use key words from the title or question?

Do they answer the question directly?

Can you work out the question or title just by reading the conclusion?

"To conclude Malcolm's reality is maintained by the techniques of deceptive language/acting/camera shots in specifically affecting scenes. The language/actions and conveyance of the script by the actors is the most convincing technique used by Shyamalan. If the actors didn't do the script justice they would have been readable from the beginning. The techniques that maintain the perception of Malcolm's reality are extremely important to the plot and point of the film. Contributing to these factors is Shyamalan's signature way of developing a scene and subtly leaving clues about Malcolm's existence. Malcolm and Cole's relationship and communication is the basis to the whole film and from this many subplots including Malcolm's marriage and the involvement of Lyn Sears develop. Besides the action in the film, the promotion of the film was cleverly put together. Firstly if the potential audience were going to see this they most probably knew the outline to the film. Going to see the film, knowing the physiological trick, they open up themselves to become deceived by the director and actors adding to the skill of deception through media.
By Mark Shields 11PG
Words: 1,456"

"To conclude I think that Amy Heckerling portrays the youth of contemporary America well although she does tend to exaggerate in order to emphasis a point clearly. All the characters in 'Clueless' have their own different personalities although they follow trends and imitate each other, which is similar to youth culture anywhere. The exaggeration needs to be remembered when we watch the film, however, for the youth culture in contemporary America - even in Beverly Hills is not as contrived as this! Also, the film portrays a very small section of a very rich part of America and in reality American youth culture and the way people live is very different from this."

"This scene is made meaningful by its strong contrast to the show-'Veronica Lake'-room. In conclusion we can see that through mise-en-scene Lynn Bracken's two very different sides and lives can be shown. It is all simply illustrated in props and scenery specially allocated to help the audience conjure up their own important perspectives. Thus making the rest of the film more meaningful in itself and allowing the audience to understand it better.
1205 words. (ï¿½not including that!)
Daniella Angel"